Getting Agency Work

[sweetmeat]

I do a lot of freelance with local agencies in my area (automotive, furniture, retail)...anyone have advice as to how to research midsize/regional agencies around the country for commercial - v/o work/?? I'd like to build a network of these agencies and finally go out on my own and not rely on working for "the man"

Thanks!!!

 

[Emmett1057]

> I do a lot of freelance with local agencies in my area
> (automotive, furniture, retail)...anyone have advice as to
> how to research midsize/regional agencies around the country
> for commercial - v/o work/?? I'd like to build a network of
> these agencies and finally go out on my own and not rely on
> working for "the man"
>
> Thanks!!!
>


Join AFTRA and get some talent agents in different markets. Try to get one in NY, one in LA, one in the midwest and one in the South. That should cover all your bases.

 

[Big_Samich]

Its been about ten years since I've been in radio, how come unions (AFTRA) seem to be really frowned upon? One employer wouldn't even tolerate the word "union" being mentioned in his presence...

-Samich




> > I do a lot of freelance with local agencies in my area
> > (automotive, furniture, retail)...anyone have advice as to
>
> > how to research midsize/regional agencies around the
> country
> > for commercial - v/o work/?? I'd like to build a network
> of
> > these agencies and finally go out on my own and not rely
> on
> > working for "the man"
> >
> > Thanks!!!
> >
>
>
> Join AFTRA and get some talent agents in different markets.
> Try to get one in NY, one in LA, one in the midwest and one
> in the South. That should cover all your bases.
>

 

[Emmett1057]

> Its been about ten years since I've been in radio, how come
> unions (AFTRA) seem to be really frowned upon? One employer
> wouldn't even tolerate the word "union" being mentioned in
> his presence...
>
> -Samich


I wasn't aware that they were frowned upon. It's damn near impossible to get good VO gigs without joining either AFTRA or SAG. One thing that sucks, though, is the $1400 start-up you're going to pay.

 

[spotchick]

> > Its been about ten years since I've been in radio, how
> come
> > unions (AFTRA) seem to be really frowned upon? One
> employer
> > wouldn't even tolerate the word "union" being mentioned in
>
> > his presence...
> >
> > -Samich
>
>
> I wasn't aware that they were frowned upon. It's damn near
> impossible to get good VO gigs without joining either AFTRA
> or SAG. One thing that sucks, though, is the $1400 start-up
> you're going to pay.
>

Yeah, but completely worth it for the health benefits alone...especially if you're not working for "the man". Where else can you make decent money for, let's face it, part time work and still have health benefits?

 

[FMDawg]

Have my people call your people

Emmett is right that you definitely need an agent. The bigger agencies and prod houses don't work the same way as the smaller ones. They put out talent calls and your agent will push to get an audition. They rarely, if ever, deal with individuals..unless that individual is a star level talent.

I was talking with a guy from Cats Paw in ATL and he said they won't even use talent if they don't have an agent. As he put it "I don't have time to call some guy's cell, pager, and house to find him. I call the talent agency, tell then what we need and the folks come to us."

As far as the union, it all depends on what you want. You'll command better pay for your work and yes there are health benefits, but as the poster below noted, it does cost. Although, even after you've joined, there's nothing that keeps you from working at a non union rate if that's all your client can afford.

So in short: Agent is a necessity to take that next step. The union is up to you.

 

[jefflaurence]

There is such a difference of opinion on unions. One one hand I like them a lot, and among other benefits they serve as a watchdog to make sure everyone in a project gets thier proper percentage as a talent (on camera or off) in a commercial. However when joining one needs to remember that they will be discouraged to the point of being kicked out for doing any non-union work. The unions want to have people in the ranks that are pro-union, and who will refuse work if the compensation rate and proper procedures are not followed. This can include the ad-agency being a union signatory (or associate) who will make very sure that all the proper paperwork and tax information is submitted to the union office. In a lot of cases the agency will hire a (for the lack of a better term) a management agency who drafts the contracts, and submits all needed documants to the unions. Basically the unions want talent to ONLY perform union work. And furthermore restrict our ability to set competitive prices for jobs. This is good from the standpoint that all of us (if SAG/AFTRA) would charge a flat minimum rate. Price no longer is a factor as Talent "A" would charge exactly the same as Talent "B" The process of choosing a voiceover talent becomes one of ONLY quality and suitability for the project..rather than price of the talent. However legally this can not always be a mandate. If you live in a "right to work" state you can claim what is called "financial core" status and be available to do union and NON-union work. This is not a well known angle, but for some of us who don't live in a major market where there is an abundance of union work..HAVE to do in order to make a living. Both major unions will most always refer you to a "special" department or person who will do thier level best to discourage you from claiming fi-core. You will basically be paying dues, but are not an actual member. i.e. you can not vote in official union elections, and some other non-sympathetic union members will tend to steer clear of you. BUT Health benefits are still available as are retirement options.

In fact former SAG president Charleton Heston is Fi-Core..as is Wilfred Brimley and many others. Many more than the unions will ever admit to as there is not a roster for fi-core members of SAG/AFTRA..because they are looked upon as non-members. (Do a Google search for "financial core" for a better explainition)

Emmett is right about agents. Get regional agents who are physically in the parts of the country where the majority of the work is done. I have "people" in Chicago, New York, Los Angeles, and Dallas. Each work on a fair percentage, and I award bonuses for really good jobs. It's not really an accepted thing to do, but I like to reward anyone who gets me something special. It's just a nice thing to do I think.

I would avoid agents who want to not only make the deals for you, but also want to get thier hands on your current client list (that they had nothing to do with) and do some renegotiations with them to up thier commissions. It's bad form, and it can lose you clients in the long run. Some agents also want to handle all of the finances, and cut you a check every month. I'm just not sure I like that.

Happy New year.

 

[sweetmeat]

> There is such a difference of opinion on unions. One one
> hand I like them a lot, and among other benefits they serve
> as a watchdog to make sure everyone in a project gets thier
> proper percentage as a talent (on camera or off) in a
> commercial. However when joining one needs to remember that
> they will be discouraged to the point of being kicked out
> for doing any non-union work. The unions want to have
> people in the ranks that are pro-union, and who will refuse
> work if the compensation rate and proper procedures are not
> followed. This can include the ad-agency being a union
> signatory (or associate) who will make very sure that all
> the proper paperwork and tax information is submitted to the
> union office. In a lot of cases the agency will hire a
> (for the lack of a better term) a management agency who
> drafts the contracts, and submits all needed documants to
> the unions. Basically the unions want talent to ONLY
> perform union work. And furthermore restrict our ability to
> set competitive prices for jobs. This is good from the
> standpoint that all of us (if SAG/AFTRA) would charge a flat
> minimum rate. Price no longer is a factor as Talent "A"
> would charge exactly the same as Talent "B" The process of
> choosing a voiceover talent becomes one of ONLY quality and
> suitability for the project..rather than price of the
> talent. However legally this can not always be a mandate.
> If you live in a "right to work" state you can claim what is
> called "financial core" status and be available to do union
> and NON-union work. This is not a well known angle, but for
> some of us who don't live in a major market where there is
> an abundance of union work..HAVE to do in order to make a
> living. Both major unions will most always refer you to a
> "special" department or person who will do thier level best
> to discourage you from claiming fi-core. You will basically
> be paying dues, but are not an actual member. i.e. you can
> not vote in official union elections, and some other
> non-sympathetic union members will tend to steer clear of
> you. BUT Health benefits are still available as are
> retirement options.
>
> In fact former SAG president Charleton Heston is Fi-Core..as
> is Wilfred Brimley and many others. Many more than the
> unions will ever admit to as there is not a roster for
> fi-core members of SAG/AFTRA..because they are looked upon
> as non-members. (Do a Google search for "financial core"
> for a better explainition)
>
> Emmett is right about agents. Get regional agents who are
> physically in the parts of the country where the majority of
> the work is done. I have "people" in Chicago, New York, Los
> Angeles, and Dallas. Each work on a fair percentage, and I
> award bonuses for really good jobs. It's not really an
> accepted thing to do, but I like to reward anyone who gets
> me something special. It's just a nice thing to do I think.
>
>
> I would avoid agents who want to not only make the deals for
> you, but also want to get thier hands on your current client
> list (that they had nothing to do with) and do some
> renegotiations with them to up thier commissions. It's bad
> form, and it can lose you clients in the long run. Some
> agents also want to handle all of the finances, and cut you
> a check every month. I'm just not sure I like that.
>
> Happy New year.
>

Thanks to all who replied!! Fi-core seems to be the way to go...but alas, I live in a non-right to work state :O(

I want to be able to use my home studio to continue providing radio station v/o but also work with regional agencies. If I get reinstated with AFTRA...I can ONLY work through union agencies, producers, etc. That would limit the potential amount of work I receive, no? My main concern is providing health benefits for my family and myself. I'm currently contracted with a talent agency, an exclusive, one where they cut the deals for me...many auditions but no jobs. The stations I've picked up have been through my networking. I just want to be able to pick up work from a variety of sources and not be bound by a union or an agency!

 

[jefflaurence]

Yeah..sometimes a union affiliation can make you less marketable..The trade off, of course, is that each job will pay more..But I find that a lot of smaller jobs equal better security, and more exposure...more exposure equals more potential work..etc..When the "big ones" come along it's great, but they wouldn't keep my lights on if that's all I did.

You can get quality health insurance through several large companies. You will never get it paid in full..even by a union, but there are group discounts. There is a company called "Mega" that is well rated, and can give you insurance at a reasonable rate. I used them for awhile.

As for an exclusive deal with a telent agency? That's just bogus unless they are actually getting you work. You would have a good case to cancel your affiliation with them unless they can actually get you some work. Otherwise they are shelving you.

BTW Sweetmeat..there are a lot of talent agencies that will schedule auditions so it "looks" like they are presenting several voice people for a project, but really have a person already picked out, and use our "auditions" as filler to make it look like they are doing some legwork. Sad, but true. The best recourse..get a good demo together, make it available online, and charge a fair and reasonable rate..be pleasent to work with, and NEVER SAY NO.

There are a lot of better voice talents than me out there, but I enjoy my work, and make enough to pay bills, have some fun, upgrade my studio, and save a little. I have a huge amount of gratitude for my clients, and let them know my feelings as ofthen as I can.<P ID="edit"><FONT class="small">Edited by jefflaurence on 01/04/06 12:06 AM.</FONT></P>

 

[sweetmeat]

> BTW Sweetmeat..there are a lot of talent agencies that will
> schedule auditions so it "looks" like they are presenting
> several voice people for a project, but really have a person
> already picked out, and use our "auditions" as filler to
> make it look like they are doing some legwork. Sad, but
> true. The best recourse..get a good demo together, make it
> available online, and charge a fair and reasonable rate..be
> pleasent to work with, and NEVER SAY NO.
>
> There are a lot of better voice talents than me out there,
> but I enjoy my work, and make enough to pay bills, have some
> fun, upgrade my studio, and save a little. I have a huge
> amount of gratitude for my clients, and let them know my
> feelings as ofthen as I can.
>

Thanks, Jeff! Always appreciate your feedback

 

[salchris]

I've read the entire thread, and what really bothers me is that I've given demos to every agency in my city and yet, never and I mean never get auditions or call backs. I too and non-union and I am not represented by an agent/agency. I guess my question is how do you actually get the gig or for that matter an audition? It's extremely frustrating. I've been trying to network with other VO ppl in the market but they offer no help at all, I'm sure it's because I might take food out of their mouths.
Your thoughts?
Thanks
Larson

> > BTW Sweetmeat..there are a lot of talent agencies that
> will
> > schedule auditions so it "looks" like they are presenting
> > several voice people for a project, but really have a
> person
> > already picked out, and use our "auditions" as filler to
> > make it look like they are doing some legwork. Sad, but
> > true. The best recourse..get a good demo together, make
> it
> > available online, and charge a fair and reasonable
> rate..be
> > pleasent to work with, and NEVER SAY NO.
> >
> > There are a lot of better voice talents than me out there,
>
> > but I enjoy my work, and make enough to pay bills, have
> some
> > fun, upgrade my studio, and save a little. I have a huge
> > amount of gratitude for my clients, and let them know my
> > feelings as ofthen as I can.
> >
>
> Thanks, Jeff! Always appreciate your feedback
>

 

[jefflaurence]

Salchris: What market are you in? It might truly be a situation where the agencies don't have the time to find talent. Maybe they all use reps or agents. If you are in a large enough market it might be time to pay an agent. How is your demo structured? That can be a deal killer. I sent out demos that were too long, that were of all the same style, that were over produced, and in general not what they wanted in the first 30 secs. Typically a "smart" demo will have about 10-15 sec of one spot, then fadeout into the next 10-15 sec of a different style, and out then another etc. We have to give them a variety in less than 2 min. That's the most they will spend with our demos IF they like what they hear out of the box.

Speaking of demos. I find that I am in a real competitive group when I am dealing with radio and TV stations not actively "looking" for voice talent. I recently sent out iPod minis to selected stations in the top 15 markets with my demo already burned on the first track. The accompanying letter asked only that the person in charge of hiring ACTUALLY listen to the demo. If they did that, they could keep the iPod. Beleive it or not all but two responded with a favorable call or e-mail, and TWO have signed up with me starting in April! Total cost of the iPods amounted to less than I will make from ONE of those stations in two months. Less than ads in trade magazines. Any other stations that sign up is gravy. And I have recieved one of the iPods back from a station in Boston who sent a letter that (gulp) "he didn't know how to work it..." !!!!

Also I will record a spec spot. Lots of VO people won't do that, but it's a great foot in the door, and it shows not only ambition but a great attitude. Some clients will use me only because I gave them thier first audio of thier product. A major infomercial production house in Seattle started that way with me and I have been thier main voice talent for all of thier projects for 16 years! All I have here is my time and talent. I have the time. I need to sell my talent..and sometimes I have to be like the sausage lady at Piggly Wiggly handing out samples. If that tactic didn't work, they would not still be doing it.

I re-read a lot of this and it is loaded with "I" this and "I" that. It is written this way because it's not my intention to preach, and tell anyone what to do. All I can do is relate what worked for me. It's not intended to be pompous.

I got a call today from an agency in Texas that used me around twice a month last year. They had a spot that they thought I would be right for. Hadn't heard from them in months. I snapped it right up. At the end of the session the guy remarked that he had forgotten how much fun it was to work with me, and he would be calling again next week.

I have a group of car dealers in California that I work with and I turn thier work around in minutes when they call. And they call sometimes four or five times a week with 3 and 4 spots each time. The head of the agency asked if I would consider reducing my rate because of the volume of work I do. I agreed that they are "power users" and cut them a sweet deal. He was thrilled that he could go to the next meeting and report that we were able to reduce thier production costs. I keep the clients happy and they end up spending more with my company because each spot costs less. Maybe Clear Channel is right LESS is MORE!


I would be happy to help further.

 

[cmatthews]

> Salchris: What market are you in? It might truly be a
> situation where the agencies don't have the time to find
> talent. Maybe they all use reps or agents. If you are in a
> large enough market it might be time to pay an agent. How
> is your demo structured? That can be a deal killer. I sent
> out demos that were too long, that were of all the same
> style, that were over produced, and in general not what they
> wanted in the first 30 secs. Typically a "smart" demo will
> have about 10-15 sec of one spot, then fadeout into the next
> 10-15 sec of a different style, and out then another etc.
> We have to give them a variety in less than 2 min. That's
> the most they will spend with our demos IF they like what
> they hear out of the box.
>
> Speaking of demos. I find that I am in a real competitive
> group when I am dealing with radio and TV stations not
> actively "looking" for voice talent. I recently sent out
> iPod minis to selected stations in the top 15 markets with
> my demo already burned on the first track. The accompanying
> letter asked only that the person in charge of hiring
> ACTUALLY listen to the demo. If they did that, they could
> keep the iPod. Beleive it or not all but two responded with
> a favorable call or e-mail, and TWO have signed up with me
> starting in April! Total cost of the iPods amounted to less
> than I will make from ONE of those stations in two months.
> Less than ads in trade magazines. Any other stations that
> sign up is gravy. And I have recieved one of the iPods back
> from a station in Boston who sent a letter that (gulp) "he
> didn't know how to work it..." !!!!
>
> Also I will record a spec spot. Lots of VO people won't do
> that, but it's a great foot in the door, and it shows not
> only ambition but a great attitude. Some clients will use
> me only because I gave them thier first audio of thier
> product. A major infomercial production house in Seattle
> started that way with me and I have been thier main voice
> talent for all of thier projects for 16 years! All I have
> here is my time and talent. I have the time. I need to
> sell my talent..and sometimes I have to be like the sausage
> lady at Piggly Wiggly handing out samples. If that tactic
> didn't work, they would not still be doing it.
>
> I re-read a lot of this and it is loaded with "I" this and
> "I" that. It is written this way because it's not my
> intention to preach, and tell anyone what to do. All I can
> do is relate what worked for me. It's not intended to be
> pompous.
>
> I got a call today from an agency in Texas that used me
> around twice a month last year. They had a spot that they
> thought I would be right for. Hadn't heard from them in
> months. I snapped it right up. At the end of the session
> the guy remarked that he had forgotten how much fun it was
> to work with me, and he would be calling again next week.
>
> I have a group of car dealers in California that I work with
> and I turn thier work around in minutes when they call. And
> they call sometimes four or five times a week with 3 and 4
> spots each time. The head of the agency asked if I would
> consider reducing my rate because of the volume of work I
> do. I agreed that they are "power users" and cut them a
> sweet deal. He was thrilled that he could go to the next
> meeting and report that we were able to reduce thier
> production costs. I keep the clients happy and they end up
> spending more with my company because each spot costs less.
> Maybe Clear Channel is right LESS is MORE!
>
>
> I would be happy to help further.
>

Jeff
Love the iPod mini idea! Might have to steal that one.

If I get to make the call, you're my VO for a few formats, but especially oldies and country.

Miss working with you.

Chucker

<P ID="signature">______________
Chuck Matthews Voiceovers
[email protected]

http://voices.planetcharley.com
http://chuckmatthews1.voice123.com</P>

 

[rmclamb]

> Also I will record a spec spot. Lots of VO people won't do
> that, but it's a great foot in the door, and it shows not
> only ambition but a great attitude.

Jeff, I totally agree and I do it myself but one question. How do you handle the occasional jerk that ask for a spec, you never hear back, then all of a sudden you hear it on the tube?

> I re-read a lot of this and it is loaded with "I" this and
> "I" that. It is written this way because it's not my
> intention to preach, and tell anyone what to do. All I can
> do is relate what worked for me. It's not intended to be
> pompous.

I don't think anyone thinks that, I know I don't. I appreciate the insight into this crazy wonderful business that you give.

Thanks,

Russ<P ID="signature">______________
Russ McLamb
Chris-Mar Studios</P>

 

[jefflaurence]

Hi Russ!

There have only been three times that I recall when I did a spec and it ended up getting used on the air without my knowledge. The first time was one done for a sales person at a radio station I worked for. (I, uh..took a "leave of absence" to learn how to stop drinking liquor) and the client ended up just using it because he thought I was out of the picture. The sales person told him he could, and later quit herself. The client viewed the spot as his and he used it for years afterward on stations all over Florida. By the time I learned of it's use, the client had sold the business and the new owner just never updated the spots..I didn't fret much about that one.

Did one as a "favor" to a commercial producer who had just started out on his own. I was told that I would be paid if it ran. As far as I knew it never ran..until some people started telling me about it on local Sarasota TV. I tried calling my "friend" but never got a call back. SO...I ended up sending a bill for 1200 dollars to the client..who was "shocked" that I had not been paid, and had "no idea" that announcers were that expensive...(hee hee) Still no money. SO...I called the TV stations and literally cancelled the ads. Client called me threatening to sue me for tampering with his advertising schedule and I informed him that in Florida "..any principle actor or voice talent has the legal right to exercise cancellation procedures with regard to advertising schedules and/or contracts if said talents are not compensated in a timely manner" He then did sue me because I called every station they ran on before the weekend to pull the plug on his spots for almost a month. In civil court he lost because he did not appear. Evidently he had a few outstanding bench warrants for unpaid fines (surprised?) I have an active judgement against him, but have no idea what he's doing these days.

Recently I recorded what was to be a "Flash" presentation for a client's Internet site. I did it as a "favor" because I wanted his business. He had said that he planned to do TV spots in four different markets where he had franchises. He ended up just using my audio from the Internet site. Claimed that he thought it belonged to him because it was on his website already. We settled up and remain friends although his first check for this in the amount of 750.00 was no-good. It was a check isued by a bank in Atlanta When I went in to Atlanta to cash it it got pushed back across the counter to me with "Not Sufficient Funds" stamped on it. I asked how much he had in the account but the teller would not divulge...so I went outside to the drive thru and using a counter deposit slip took out a 20 dollar bill and deposited it in his account. (CASH deposits show up immediately) Went back in to the bank and tried to cash his check again..Still no go..back to the drive thru..another 20 dollar deposit, and back inside...BINGO! He apparenly only had around 700 bucks in his account..and they cashed it for me. I got my 750..minus my 40 bucks I netted 710.00 and completely cleaned out this guys bank account.

We all have stories like that..but in all thee years those aren't bad odds.

 

[salchris]

Jeff,
Check your email. And thanks for the great information
Regards,
Larson
> Salchris: What market are you in? It might truly be a
> situation where the agencies don't have the time to find
> talent. Maybe they all use reps or agents. If you are in a
> large enough market it might be time to pay an agent. How
> is your demo structured? That can be a deal killer. I sent
> out demos that were too long, that were of all the same
> style, that were over produced, and in general not what they
> wanted in the first 30 secs. Typically a "smart" demo will
> have about 10-15 sec of one spot, then fadeout into the next
> 10-15 sec of a different style, and out then another etc.
> We have to give them a variety in less than 2 min. That's
> the most they will spend with our demos IF they like what
> they hear out of the box.
>
> Speaking of demos. I find that I am in a real competitive
> group when I am dealing with radio and TV stations not
> actively "looking" for voice talent. I recently sent out
> iPod minis to selected stations in the top 15 markets with
> my demo already burned on the first track. The accompanying
> letter asked only that the person in charge of hiring
> ACTUALLY listen to the demo. If they did that, they could
> keep the iPod. Beleive it or not all but two responded with
> a favorable call or e-mail, and TWO have signed up with me
> starting in April! Total cost of the iPods amounted to less
> than I will make from ONE of those stations in two months.
> Less than ads in trade magazines. Any other stations that
> sign up is gravy. And I have recieved one of the iPods back
> from a station in Boston who sent a letter that (gulp) "he
> didn't know how to work it..." !!!!
>
> Also I will record a spec spot. Lots of VO people won't do
> that, but it's a great foot in the door, and it shows not
> only ambition but a great attitude. Some clients will use
> me only because I gave them thier first audio of thier
> product. A major infomercial production house in Seattle
> started that way with me and I have been thier main voice
> talent for all of thier projects for 16 years! All I have
> here is my time and talent. I have the time. I need to
> sell my talent..and sometimes I have to be like the sausage
> lady at Piggly Wiggly handing out samples. If that tactic
> didn't work, they would not still be doing it.
>
> I re-read a lot of this and it is loaded with "I" this and
> "I" that. It is written this way because it's not my
> intention to preach, and tell anyone what to do. All I can
> do is relate what worked for me. It's not intended to be
> pompous.
>
> I got a call today from an agency in Texas that used me
> around twice a month last year. They had a spot that they
> thought I would be right for. Hadn't heard from them in
> months. I snapped it right up. At the end of the session
> the guy remarked that he had forgotten how much fun it was
> to work with me, and he would be calling again next week.
>
> I have a group of car dealers in California that I work with
> and I turn thier work around in minutes when they call. And
> they call sometimes four or five times a week with 3 and 4
> spots each time. The head of the agency asked if I would
> consider reducing my rate because of the volume of work I
> do. I agreed that they are "power users" and cut them a
> sweet deal. He was thrilled that he could go to the next
> meeting and report that we were able to reduce thier
> production costs. I keep the clients happy and they end up
> spending more with my company because each spot costs less.
> Maybe Clear Channel is right LESS is MORE!
>
>
> I would be happy to help further.
>

 

[jfishback]

Hey Hope everyone is good. Have not been on for awhile!

I am in market 2000! There are these little agencies around here that are trying to be uptown like they are in NYC or something! I have sent them demos, even the cable company, here is the funny thing about that, I am getting work all over the country, I am even doing trailers for Showtime, I'm doing some v-o for a t.v. station in Cincinnati, but these guys won't even call me back! Maybe something to do with the fact that I am on the air here and maybe they want a voice that is not over used. Might try other markets and forget about the local guys for now. Good luck bro.




> I've read the entire thread, and what really bothers me is
> that I've given demos to every agency in my city and yet,
> never and I mean never get auditions or call backs. I too
> and non-union and I am not represented by an agent/agency. I
> guess my question is how do you actually get the gig or for
> that matter an audition? It's extremely frustrating. I've
> been trying to network with other VO ppl in the market but
> they offer no help at all, I'm sure it's because I might
> take food out of their mouths.
> Your thoughts?
> Thanks
> Larson
>
> > > BTW Sweetmeat..there are a lot of talent agencies that
> > will
> > > schedule auditions so it "looks" like they are
> presenting
> > > several voice people for a project, but really have a
> > person
> > > already picked out, and use our "auditions" as filler to
>
> > > make it look like they are doing some legwork. Sad, but
>
> > > true. The best recourse..get a good demo together, make
>
> > it
> > > available online, and charge a fair and reasonable
> > rate..be
> > > pleasent to work with, and NEVER SAY NO.
> > >
> > > There are a lot of better voice talents than me out
> there,
> >
> > > but I enjoy my work, and make enough to pay bills, have
> > some
> > > fun, upgrade my studio, and save a little. I have a
> huge
> > > amount of gratitude for my clients, and let them know my
>
> > > feelings as ofthen as I can.
> > >
> >
> > Thanks, Jeff! Always appreciate your feedback
> >
>
<P ID="edit"><FONT class="small">Edited by jfishback on 01/12/06 06:53 AM.</FONT></P>